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Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.

From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.

In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.

I think if you watch most of my films with the sound off, you could still tell what's going on.

It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.

People say that soundstage sets never quite look like reality. But actually, they can. They can be as real as you want as long as you pay attention to the kind of detail that is given for free in a real place.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

It's almost like, it's often the bad recording quality of things which makes them interesting.

Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.